Catalogue of an exhibition of sculpture, medals and drawings by Bronisław Krzysztof (b. 1956), held at the Polish Auction House "SZTUKA" galleries in Cracow and Warsaw. Apart from the full-page colour plates illustrating (from various angles) all of the thirty-seven exhibited sculptures, the hundred medals and several drawings, the catalogue contains a nearly complete photographic record of the artist's works, a comprehensive bibliography, a list of exhibitions, both in Poland and abroad, and a richly illustrated biography.

[...] Although, unfortunately, some insensitive critics and curators

do manage the trick, no true sculptor can never ever forget that he is

producing the most tactile of all art works. The spectator should feel a

tingle in the hands as they long to touch and caress. The monumental forms

of Bronisław Krzysztof have this quality in abundance, and his awareness of

the importance of tactility is surely indicated by the extraordinary beauty of

his sculpture hands, and the importance he gives them in his compositions.

[...] Concentration on the inner life of his subjects is implicit in his

technique of building up sculptures in layers, which can be removed, as a

surgeon peels away skin, flesh and muscle in a dissection. [...]

He is able to move seamlessly from the classical to modern,

blurring the distinction between abstraction and representational art, while

never departing from the theme of humanity. Like many of the greatest

Renaissance sculptors he is able to work both on a monumental scale and in

miniature, as a most effective medallist. Often, especially in medals and

plaques, the image seems to be struggling to emerge from the metal, just as

Michelangelo's great Slaves struggle to be born from their stone. The

artist's reverence for his material is one of the key elements of sculpture. A

great African sculptor once said to me 'The stone tells me what it wants to

be', and this can be true of metal as well as of stone, clay or wood.

Krzysztof's reverence for his materials is always evident, and it is

the reason that he is able to conjure metal into the illusion of flesh, and in